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Heteronormativity at its finest
Change the character of Rawee into a woman, and you'll get an old-fashioned, tropey romance movie with a supernatural side.Why?
Rawee is the typical young orphan, who is brought into the house of a new family, first of unclear status, then gets engaged to/married off to the family`s son.
Rawee stays at home and makes desserts for the family, while Phloeng is outside, doing business things. Rawee is easily hurt, and the manly Phloeng carries her, sorry, him, because Rawee obviously can't walk on his own after scraping a knee. Phloeng is the one who gets jealous and overall is the one who pushes their relationship to the next levels.
Apart from one remark at the beginning, Rawee's gender has no relevance at all.
There's really no point in Rawee being a man. (Because the character isn't, it's just a male body in a female role.)
(Edit to add: And it's a stereotypically "weak" female role, at that. I like women to have more agency, and Rawee basically has none.)
The side couple really had no relevance to the story (at first I thought maybe the ghost would use it, but no.) and could have been left out. Instead the time could have been used to tell the ghost's story in more detail.
The acting was all right, good by the seasoned actors. Cinematography was fine, music non-remarkable.
Sets were appropriate for the early 1960s, as far as I can tell. I'm not too sure about the clothing -- in Europe no man would have just casually worn a T-Shirt, and short trousers for a young men of 21 years would have been a no-go. but I'm not familiar with Thailand's fashion in the 1950s and 1960s, so they might be okay.
Well, at least now I can point to another movie whenever I want to show what I mean when I talk about heteronormativity in BL dramas and movies.
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Here, it’s mainly told from the point of view of a young man, whose past hold a tragic event, and who finds not only solace in painting but also a new way forward in life.
As such, this film is less straightforward about showing and explaining the art of Sumi-E than “Every Day A Good Day”, which introduced us to the art of tea making,. I still loved the many close-ups of the brushes painting ink on the paper and the insight the film gave us into the art. The connection between human and nature is much more subtle than in “Every Day A Good Day” but it’s still obviously there. The subtlety also makes the film not obnoxious about the message it carries (unlike in “The Zen Diary”).
Another thing that I liked was that there was no romance at all. I feared that there would be when they introduced the young woman, who is only two years younger than Sosuke – but they connect over their art and their struggles, and it all stays very, very platonic. I would have liked it more if the film had placed Sosuke firmly in the “still a beginner” category and have her stay on a much higher lever of expertise in the ending scene (as it is, it feels too much like the tired trope of the man who starts as a beginner and supersedes the female teacher in the end) – I do think the script made it clear that they both have learned that it’s painting their own lines that’s more important than any outside appreciation, but it was nevertheless slightly disappointing for me.
Having Sosuke as the beginner who is still not in the lime light would also have been a better fit for his overall humble personality.
As always, whatever is on JFF Theater, is of high quality regarding filming, editing and acting and with great attention to detail. I admit, I was a bit distracted by Sosuke’s hair – but even here, the way it was styled reflected his state of mind.
Was it good?
It was! It had a good story with a clear emotional arc and still gave insight into the art of Sumi-E.
Did I like it?
Surprisingly, yes. I wasn’t too sure about the subject – painting is really not something I connect to and the “Spirit of Dō” collection and all JFF films that get philosophical can feel too overbearing very quickly for me. I even shed a tear or two.
Who would I recommend it to?
To painters and appreciators of painting. But with the caveat that one should be in the right mood for a slow film.
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What do you want?
"Confetti" is a good example why you don't always need an external conflict to tell an engaging story with depth.Interesting characters, a relatable premise, a screenwriter and a director who know what they want, and, of course, outstanding actors -- if you have that, then even the most mundane plot can feel new and fresh. "Confetti" has all of these in spades.
Although the life circumstance of our main protagonist Yuki -- a kid who is growing up in a 大衆演劇 "taishu engeki" or "poular theatre" troupe -- are quite unusual, the central question for him is one most teenagers ask at a time in their lives: "What do you want?" With the end of middle school (and thus the end of compulsory schooling) growing nearer, he has to make his first life-important decision.
What I loved about the film is that it combines Yuki's unusual background with everyday topics in Japan: absenteeism in schools, parental expectations, exploitation of idols, the modern vs. the traditional arts and more. And quite a few of these themes are not addressed directly, but often just in a glance, a smile or a frown, a few words that are just said as an aside. What's not being said is just as important as what is being said in this film: and this is where the quality becomes very obvious. Because for something like this to work, all creative forces need to be in alignment about what story they want to tell -- and since they decided to tell their story mostly in the glances and side remarks, I'll leave the reading of this story to the attentive viewer.
Another thing that I loved: We get to see glimpses into the world of Japanese "popular theatre". I surely had never heard of it before, and liked that the film took us to see the genre and the inner workings of a theatre troupe. I would not be surprised if the actors for the troupe were a real 大衆演劇 group and the venue and the props were actually used in real life.
Let me take note of some technical aspects:
The screenplay is written concisely and every scene and every line has its own value. When Yuki speaks a few lines while sitting alone in his new classroom in the beginning -- and it's picked up again by a theatrical actor in the last minutes. When themes are gently introduced, and their importance is only revealed bit by bit.
The directing and the acting support the screenplay: A gentle nod, a crips bow, someone leaving and another standing by the door. None of this seems obviously out of the norm. Fit together, it makes for a cohesive whole where nothing is forced but everything can potentially be important.
And where these decisions would make another film feel slow-paced, this is strangely not the case for "Confetti".
I have to mention Yuki's actor, Matsufuji Shion, who has one of these round faces that don't naturally lend themselves to expressive acting -- but he does it anyway. His emotions are always very easy to read, his confusion, his melancholy, his joy. Very, very impressive for a 15-year-old!
Was it good?
I my view, this film is a little gem among Japanese films -- it's not pretentious at all, or flashy, but neither is it boring. But it tells a beautiful story about growing up and trying to find the answer to "What do you want?"
Did I like it?
A lot! Really, this is one of the films I'll definitely watch again.
Who would I recommend it to?
To those who like coming-of-age stories, definitely. To those who like to watch a film with their eyes and hearts as much as with their ears.
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Raising a child gives the whole village a headache
"เลี้ยงเด็กหนึ่งคน ปวดหวัทั้งหมู่บ้าน" -- "Raising a child gives the whole village a headache" ... and raising an adult even more.The Thai title "เกิด / แก่ / เจ็บ / โต" is a very good indicator for this series' themes: "เกิด แก่ เจ็บ ตาย" -- "birth, age, sickness, death" is the fundamental aspect of life in Buddhism. Everybody will experience these four things in life. So, when the Thai title says "birth, age, sickness, growing up" instead, the "death" part and the relation to Buddhist teachings is already implied. The producer tells us: This is a story about life itself.
However, the title goes a step further and inserts "growing up". Both main characters, the man in his sixties and the 17-year-old girl, have a lot of growing up to do, and the only way of doing this is by listening, understanding, mutual respect, and within a community.
For me, "เกิด / แก่ / เจ็บ / โต" was an interesting watch for the cultural lessons it had. How do Thai people speak about dying and death? What changes bring the modern times to family values and intergenerational relationships in a society that is traditionally very clear about roles of family members?
Its intended main theme, I think, was about broken parent-child-relations, about the value of community and family, whether by blood or by choice, and about the importance of listening with respect, regardless of age. And I think that they did a good job with this overall; except in some parts where it got a bit too preachy for my taste, and some of the ending was too feel-good when one secondary character reformed too fast while another gave forgiveness a bit too easily.
That being said, I had feared that *everything* would be resolved neatly, which was not the case, because this too is life: Not everybody will grow up, not every attempt at reconciliation will work out. I just think that it could have been even more realistic without diminishing the feel-good happy ending for our main cast if it had stayed a bit more open-ended.
The story telling was a bit too slow at times and, together with the heavy-handed message, I never felt the urgent need to watch the next episode immediately.
The screenplay was mostly solidly written -- I love the progression of the two main characters, and also how Nok's backstory was revealed slowly. I would have liked it if the supporting characters had been fleshed out more; Pha was a bit too good and too understanding at times, and the trio of our lovely grannies deserved more than to be the background chorus, too. I think the story would have worked as an ensemble cast, maybe even better than it does now.
It's also maybe of note that the screenplay does the usual Thai way of mixing comedic bits and serious messages, which might take a bit of getting used to. There is just enough romance that I can't put the drama in my "No romance!" list -- but both couples make sense within the narrative and the character progression, so it's all fine.
What made this drama was the general production quality, the setting in a lower class environment and the outstanding abilities of the actors. I loved the interactions between Nok and Jan, of course, but also the actors of supporting characters like Omsin and Jojo were excellent in their roles.
Was it good?
I think it was. The production quality was high, the actors were excellent. The message was delivered a bit too heavy-handed at times, and part of the ending felt slightly undeserved.
Did I like it?
I didn't love it so much that I devoured the drama; but I am glad I watched it.
Who would I recommend it to?
To people who an watch a slow, slice-of-life-adjacent drama. And to those who are interested to understand how Thai people view life and death.
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And these are indeed the reasons why I would say it's worth to watch this film -- because the story itself is very predictable and did not touch me.
The cinematography, however, is beautiful, and quite stunning, especially considering the aged material. I loved the peek the film gives us into the lives of Thai villagers 70 years ago, and I loved with how much care the ceremonies were filmed. Among others, we get to see a school, Loy Kratong, a wedding, and the ordainment of a monk -- and the film takes its time to show them to us in detail, though without explanation.
The story itself shows us attitudes towards disabled people, towards women and towards marriage and family of that time (and modern audiences might see how much of it has (not) changed since then). It also, more implicitly, tells us about Buddhist mores, the relevance of the belief in Dhamma and Karma, and what is considered to be a meritful life. In Buddhist teachings, เกิด แก่ เจ็บ ตาย "birth, aging, illness and death" are the four natural inevitable aspects of a person's life. When Santi is "sees the light" (grows up), he sees the world in all its beauty -- and its suffering. Only now can he see his "right" path forward.
The film was thought to be lost for decades -- only in 2014 was the film negative found at the British Film Institute, and screening versions at the China Film Archive in China and the Gosfilmofond in Russia. More than 1700 hours went into the digital restauration.
Was it good?
It has very good cinematography, and it gives us a window into the past. It's also notable for its importance for Thai film history, as it is one of the first 35mm colour films.
Did I like it?
I didn't get on with the story, but I loved seeing the daily life of the villagers, and their ceremonies.
Who would I recommend it to?
To people who are seriously into the history of Thai cinema. And to people who want to see life in a Thai village in the early 1950s.
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I really liked this documentary. The narrative gently leads the audience from the process they use on the peninsula to the history of why almost every family made salt there to why they stopped doing it -- and how it came to be preserved nevertheless. And then it looks into the present of 2011 and into the future of how this traditional method might be preserved and maybe even help the economic situation of this rural part of Japan.
I admit it, I had an elevated level of interest already because in my home town there also is a history of salt making (from briney springs rather than sea water), and in the very early days, before the invention of Gradierwerke, they also boiled the brine to produce salt crystals.
So, I had a connection already, but the documentary wouldn't have held my interest if not for these points:
* They built the narrative so that someone who has no prior knowledge can follow along. It takes time to explain and show the process, and also gives room for the beauty of salt and the landscape. Its slow pace also underlines how slow and back-breaking the labour was and is.
* They were probably lucky that there are not only photos but also film footage of the family who were the only ones to make salt for dacades. I'm glad we got to see this.
* There's a good balance between the facts of salt making and the people with their emotions and passion. Neither could exist without the other.
* Regarding people, after the revival of salt making (mostly for tourism), there are several endeavors to do so -- and I liked how the documentary doesn't try to push a "We're in this together, ganbarimasu!" type of narrative, because it clearly is not the case. The original family's father is very salty about how things went in recent years, and they don't try to hide that.
* I also liked how they found a random granny on the street, decided to interview her, and kept that footage in the documentary.
* The documentary also doesn't gloss over the fact that industrialization changed Noto, that salt making is not a craft with a bright future -- but that is more tourist-oriented now, trying to bring in money for the people who are left while preserving salt making as a historical artifact, and that this has changed salt making itself.
Was it good? -- Yes. It was informative, and engaging. It was also a bit slow, but I think that's perfect for the subject.
Did I like it? -- Very much so. I do have questions after watching it, but they are follow-up questions that would deepen my understanding, not questions because there was something missing or unclear.
Would I recommend it? -- Absolutely.
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The acting and the production value was great, as it often is with Japanese films -- but this one doesn't have the tight writing I've been accustomed to by other Japanese productions.
The script wasted time on several love stories, but couldn't develop them all, and then proceeded to use cliches for additional drama. Cliches, I might add, for the women only. I was most diappointed by the mother's reason for "retiring", which is one of the most overused trope in films and dramas.
These tired plot points distracted from the two story lines that should have been at the centre of the movie: The love story between Takeshi and Johyun and the preparation for the tug-of-war. It could have been a sweet, community-focused slice-of-life. It could have been a love story of a man who struggles between his own dreams and expectations or between old dreams and new ones.
There were also hints at other stories: A man who's single misstep at high-school overshadows his whole life, a mother whose life has been dedicated to family and the family business, a divorced single mother who constantly is at odds with a sexist society; the list could go on and on.
And even though the film took the time to explain about the tug-of-war in several dialogues, I didn't even understand what was exactly happening during the tug-of-war. What is the purpose of the disruptors exactly, what was that about the loops, why does the rope have to be cut at the end?
The film gives us tantalising glances into a fascinating cultural event as well as into interesting plot lines -- but none of them is ever developed to a satisfying point.
All in all, I would have rather watched a documentary about the Sendai Tug of War.
Was it good? -- Everything was great -- except for the script.
Did I like it? -- Not really. Script and characters are at the centre of a film for me, and here they frustrated me.
Who would I recommend it to? -- I'm not sure. To people who want to know about Japanese culture maybe? But then there's not enough explanation fo it.
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Intended for a domestic, not international, audience, this documentary does not need to tell the story of Tsukemen, the ramen variant invented by Yamagishi-san in 1961, and it does also not need to tell us about the dish itself.
Instead it focuses on the last active years of Yamagishi, and some of his years after retirement -- as well as how his work and marriage has shaped his life and his legacy.
As always with these documentaries that follow a person's personal life, I admire how close the film maker is able to get to the subjects of his film. The raw honesty with which Yamagishi can show us his life is the main reason this documentary can evoke the deep feelings viewers can feel while watching it -- personally, I cried throughout the last third until the very last second of the closing credits -- they were tears of suffering, of relief, of nostalgia for a life I did not live. Every moment of happiness was tinged with a deep melancholia for the passing of time and the changes it brings with it.
The way Yamagishi suffers through most of the film, and how he is still able to look back on his life and see the good things -- how he can accept the finality of age will stay with me for a long time.
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And, as expected from any film shown on the JFF Theater platform, the actors are brilliant. They are indeed so brilliant that there is no need for dramatic music, or experimental camera work -- the actor's way of portraying their characters is what carries this film.
Most of the film's value comes from how the characters react to their circumstances (or, rather how they try to shape them) -- which is why the actor's capabilities are so important.
I don't want to spoil anything about the plot and its little twists and turns. Maybe just this: This is not a "firework of jokes" kind of comedy -- yes, there are some scenes that made me laugh out loud, like right in the beginning, when Kanae Mizushima straightens her desk and then takes out a small vacuum cleaner for the finish; most of the comedic bits are more subtle.
And a short word about the romance -- yes, there is a romance story -- it was very cute. Two oddballs falling in love with each other, over their shared passion for plans and lists, was sweet to watch. And the hug in the end was everything.
As the best comedies do, this film also touches upon question of human existence: What is love? And what are you willing to do for it? What makes you "you"? How do you "know" who you are? And can you be an ethical killer?
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Kiyoi's and Hira's love is a twisted one, one that is more co-dependency than love. One feels that his only meaning in life is to adore the other. The other needs another person to look up to him. It reminds me of the relationship in "Double Mints", just without the drugs and violence.
I can see that this is a story that fascinates a lot of people -- it's raw, painful, and beautiful in its pain.
Additionally, the quality is exceedingly good. The actors are excellent, I don't think any viewer could imagine another actor in their roles. I love that the drama tells the story as much through sounds and silences as through visual elements, colours and inner monologue. The script is tight, and there's not a second that is unnecessary for the story.
For me, though, I would have needed a different story-telling to enjoy this drama. As a victim of bullying myself, I would never be able to adore my tormentor, even if I would have found them attractive (and, sorry, I don't find Kiyoi attractive at all, let alone beautiful). I cannot, for the life of me, see how Kiyoi's non-action (he just enters a room!) is more impactful for Hira than his college friend's active support from minute one.
Maybe it would have helped if I got to see Kiyoi's internal struggle earlier -- but then, he does not seem to see anything wrong with his actions during high school at all.
I do understand that we need stories about twisted and painful relationships, we need more than just sugar-coated rom-coms -- it's just that this one with it's central theme of school bullying is not the right story for me.
So, if you ask me: Should I watch it? Then, yes, absolutely, do so. Even if you, like me, will never understand their story, watch it just for the outstanding performance and the beautiful way this drama was made.
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This review may contain spoilers
Does what it set out to do.
"You Are Mine" is a classic office rom-com with a boss-employee romance. This drama thankfully doesn't pretend to want to be anything else, and it does it well.In accordance with its theme, the drama is rife with tropes -- from the gaggle of secretaries / colleagues, to the meddling friend/co-worker, and of course, both working overtime and the all-too-common work outing and more.
There's one story aspect that doesn't quite fit.
The main struggle in this story is that there's an imbalance of power between a boos and his employee -- and I do love that they address this! -- but it doesn't quite make itself clear through the script and the acting. For the longest time, it seems as if our employee is the usual "bottom"-type who is reluctant to enter a sexual/romantic same-sex relationship. The writing emphasizes this aspect too much and for too long, while the much more interesting and *actual* hurdle is only truly visible near the end.
I also am not too enamoured by the music. While the songs themselves fit the vibe of the drama and are likeable enough, they are unbearable as background music and distract from rather than support the scenes.
Both these aspects though are overshadowed by the amazingly on-point performance of the main actors, and also by the supporting actors -- it feels as if they know their characters inside out. The comedic timing is usually perfect.
I also love the "interviews" at the start of each episode (except episode 1, which has it at the end), which are funny in their own unique way.
Overall, it's a nice and fun watch for a gloomy day.
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underdeveloped plot, underdeveloped characters.
There's three things you should know before you watch this:1. The producers of this series are also the people who made "Second Chance", "Coffee Melody" and "Tin Jem Jai".
If you liked those, you might like "Ai long Nhai".
2. There are a lot of scenes, where it's clear that they intended to have a product placement. There are no product placements in the whole series. Either the production company is very bad at finding a sponsor or all potential sponsors did have no interest.
3. Ai long Nhai -- อัยย์หลงไน๋ -- Ai is infatuated with Nhai. That's it. That's the story.
[As an aside, the dictionary I use also gives two other meanings for หลง, which are a) [is] lost; confused; forgotten; neglected; mentally weak; b) to lose one's way, to go astray, to get lost, to be mistaken or forget; to be absorbed; to be absent-minded -- which is Nhai's personality in a nutshell]
The series -- I hesitate to call it a drama -- suffers from these points:
1. Interesting plot ideas, which never go anywhere and unconnected scenes, with plot holes and inconsistencies.
2. Side characters who can't even be called "one-dimensional".
3. Old BL clichés, and not the good ones.
4. Low funds, static scenes.
Let's elaborate:
-- 1. The series had a really strong start. I especially loved the banter between Ai and his father. When Ai first met Nhai, I expected this story: Ai falling in love at first sight, and subsequently pursuing a clueless Nhai, in more and more ridiculous situations; to the great amusemant of ai's father and friends -- I would have loved this comedy.
I liked that it was Nhai who made the first move, and his subsequent self-exploration. He was a classic case of a gay man deep in the closet (pining after a girl he will never get, getting physical with men when drunk, insisting that another man is just a friend and some internalized homophobia -- vocally claiming that touching another man is "eew"). That also would have made a really good story, maybe finally something more LGBTQ+ than BL. And they could have made this story light-hearted and funny, if they wanted. But that was quickly discarded.
Nhai's characterization as dirty and generally being a slob could also have been something new and interesting, people could have asked Ai "Why that guy?". It was kind of important but didn't translate into his appearance. He always looked styled perfectly, and I couldn't even see that his shirt was not ironed.
Scenes were often not connected, side stories discarded. I never could tell how much time had passed. Between a scene and the next, there were inconsistencies several times. Example 1: The friend group talk about Ai and Nhai several times, whether those two are together -- but there's no continuity, the discussions are always as if the friends haven't talked about it before. Example 2: In episode seven, a hickey appears and disappears, and reappears.
There's more, but this is getting long, so on to the second point:
-- 2. The side characters. I'd complain that the female characters are there just to advance the plot for the main characters -- but the friend group is more or less the same. They stay remarkably bland, considering they have quite a bit of screentime. At the end of episode two Nhai tells us about his friends in a voiceover, but this information is never important for any of the plot.
-- 3. Clichèd BL tropes that I hate.
Top/bottom dynamics, including the use of "hubby" and "wife" -- The top is manly, sucessful, knows how to get through life, perpetually horny, while the bottom is whiny, fragile, needs help constantly, reluctant when it comes to sex. There's a review here by RemmiKay, who says "This is a CLASSIC exchange of power relationship." There's actually some textual clues for that, so it works. While I don't think this interpretation is in any way intended by the writer or the producers, it made watching the series bearable. Still, even from an exchange of power relationship I'd expect that both are shown as into the sex -- Nhai continues to look like a nervous virgin whenever things turn sexual, and it gets worse the longer the series goes on. (Even if Nhai would only be playing at being reluctant, as part of their relationship dynamic, the audience should get to see that he wants it.)
There's the stereotypical gay (maybe transgender?) friend; there must be a gay friend in a romence, right? Of course, they are flamboyant, have pink hair, but they are definitely not beautiful or attractive. And it's disheartening that Nhai goes to this friend when he's unsure about his attraction to Ai and gets "Yes, of course you are the wife" as an answer. That's not helpful and also sexist.
Too many side couples. While other Thai BL productions in 2022 seem to have learned from past mistakes, this one tries to give a male love interest to everyone in the friend group. Not only do most of them not go anywhere (the one that does, just ... does, behind the scenes), the three friends also had explicitely stated that they are straight in previous episodes. (see above, inconsistent plot)
and, finally,
-- 4. low funds. The sets, few as they are, look empty. Ai's condo is supposedly "like a labyrinth" (Nhai, somewhere in the second of third episode), but it's not, and you can see that -- the living room and the kitchen are in the same room, for example. The props in the shelves etc. are obviously placeholder props; had they filmed in one of the example rooms in an IKEA, there would have been more personality to this living space. There are no knick-knacks or anything that makes a home a home. Ai's car seems to have cost most of the money they had.
That everything, the sets, the clothes and so on is mostly in white and black, really does not help.
Scenes often just were two or more people standing and talking, which made the already slow pace wven more static. Some actors need more acting classes.
Overall, I feel that the writer had some good ideas, but shied away from anything that would have made the series more interesting, either writing a good conflict (inner or external) or more comedy. Was it too daring for him?
But even if they intended to make a slice-of-life series, they would have needed something more plotty and consistent.
It's like a teenager's first fanfiction -- they love their characters, they don't want to hurt them, they write things they wish for in their relationship. But for a product that is supposed to bring in an audience, who'll remember the story, this is just not enough.
That being said, there have been two small things that need to get an honourable mention:
* I think this is the first Thai BL in which lubrication for anal sex is mentioned, and hopefully used.
* Ai explicitely states that he is bisexual. In most BLs they don't even use the word "gay".
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I like the way the story is told, the way the space the landscape itself shapes the tone of a scene, the way music also tells the story of the island's community, of their feelings and state of being. I also loved how they did the flashbacks to Nabbie and Sun Ra in 1940. The dialogue is also something to pay attention to: In some scenes words are never needed; in others, characters say what they mean, but in other words; and in some, words fall like stones into the still sea.
Only one thing, we are used to the somewhat yellowish tint in Japanese films and series -- but I felt that it was even stronger here? It must have been a conscious choice? Or else I am too used to digitally filmed media? Thinking about it, I notice that I haven't seen a colour film from the 20th century in a while.
It's sad that the film didn't capture the vibrant colours of the sea, the sky and the flowers, I think I would have loved to see that.
I'm glad that JFF provided us with additional material, especially the "Ryukyu Buyo" short (link to the video on YouTube: https://www.youtube.com/watch?v=mSX8VaAV4RQ), which helped a lot with understanding the music and why some of the scenes were acted the way they were.
The story elements of enduring love, leaving the island and coming back, community and spiritualism are probably much deeper than I as an outsider can ever see. It was lovely, and I cried for reasons I cannot explain myself.
Was it good? -- It was! It's deliberately slow, but well told, and I love the way they did the flashbacks to the old love story of Nabbie and Sun Ra.
Did I like it? -- I did. However, this is a film I have to be in the right mood for if I want to enjoy it.
Would I recommend it? -- To those who love to see something different, who don't mind a story that sometimes tells things coming from sideways. However, those who hate the colour palette in Japanese media should probably stay clear.
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This review may contain spoilers
Soft and gentle, communication is everything
"Monster Next Door" is one of those gentle and soft romance dramas that are more about two people of opposite characters slowly getting closer to each other and finding a good balance in their relationship than it is about external conflicts.As such, it can be either comforting or boring, depending on the personal taste and mental state of the viewer.
1. Is it good? -- It's certainly in the upper third of 2024's Thai BLs, but it's not perfect -- the overall production quality is good, acting is solid, and here are little to no plot holes. Regarding flaws, see below.
2. Did I like it? -- Yes, I enjoyed it immensely. I chose a time when I was in the mood for a light watch, with a soft and gentle couple, and this hit the spot. More on that, see the paragraph directly below this one. It's also become one of the dramas I turn to when I'm in need for some fluff.
3. Do I recommend it? -- I do. But only for those who are looking for a gentle low-stakes love story, where nothing hurts (much, or not for long), that has mostly but not only fluff.
I love how the drama shows us a couple who resolve their problems with open communication and gentleness, and try to understand and accommodate each other.
Park and Big present their roles well -- one is more reserved and sometimes you have to look closely to understand how he feels, while the other telegraphs everything. The supporting friend group is hilarious, and both couples' stories fit well within the plot. I like the sets, the use of colours -- and even the opening song grew on me.
I very much like it as a stress reliever and diversion from work and life, the drama is perfect for that.
(As an aside for those who have not watched this yet or were confused: Near the end of epiosde 1, God asks Diao to become คนคุยกัน /khon khui gan/, literally "people who talk with each other" -- it's translated as "dating" in the subtitles, which gives a wrong impression. /khon khui gan/ are two people who will meet up often, "talk" with each other, to get to know each other, with the prospect of a romantic relationship at a later stage. I don't think Western cultures have this exact same thing, so it's really hard to find an expression for it in English.)
Coming back to the drama; even if I like it a lot, there is one major and some minor irritants.
The one major irritant is Khun Shy's living conditions. Khun Shy is Diao's much beloved turtle -- for him, Diao even asks his neighbour for help, even if he doesn't quite trust him at this point. So, apart from the fact that it hurts every time we have to watch Khun Shy desperately trying to escape his prison, it also does not make any sense within the story that his cage is so small.
Everything else in both Diao and God's rooms is lovingly chosen and presented by the production team -- these rooms represent their owners in style, displayed items and colour scheme. Why then, is this not true for Khun Shy? Diao's love for him should have been reflected in the turtle's living condidtions. You can't tell me that someone like Diao, who has been obsessed with turtles his whole life and loves his own little turtle very much would *not* dedicate at least half his living space to a luxurious habitat for Khun Shy?!
It is a grave mistake on the side of the production team that they did not see this.
One very minor aspect that I found irritating is that the camera doesn't alsways get the right focus in close-ups immediately, and takes a second or two to get it right.
There are a few other minor irritants that could have been avoided with a few more passes over the script and the editing -- the whole drama does not feel as polished as it could have been. Quite a few of these things I have also seen in other Thai BL production, so "Monster Next Door" is not alone in this. But given the care the drama shows in other aspects, it's a pity that these little splinters are left.
In short, sometimes less is more, and I think it would have been better for the writing team to go over their script two or three times more to cut everything that is not necessary to the story (there are some scenes that don't add anything) and instead explore some of the themes in more detail and also use the many little ideas in the drama more consistently.
Since this review is already long enough, and the things I mention are a bit spoilery, I put them in a comment below for anyone who might be interested.
Related to that, I would have liked the drama to break out more from the "top/bottom" mold. They had the best starting point -- an introvert and an extrovert who will have to find a balance between their needs.
Why not cast the smaller man in the "extrovert" role of God and vice versa? Why not let the smaller and introverted Diao top God, at least let him "top from the bottom", instead of letting him slide back into the passive "uke" role in bed?
We got a good story about character growth, and Diao has always been straightfoward and strong when it comes to stating his own needs and wants (even in times when he needs to process and think, he usually makes it very clear). We got a beautiful story about a couple that has to find their own way, so both of their needs are met. Why not reflect that when they are physically intimate?
I think on the whole Thai BLs have been consistently getting better in quality recently, and "Monster Next Door" is on the upper end of the scale among fluffy Thai BLs from 2024.
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"Wherever feels like home ... is home."
Having seen "Midnight University" and "Low Season", I was looking forward to a non-romance Thai-style horror comedy. Those other two titles managed to combine Thai silly humour with deeper themes of life to create something very unique.And "Peaceful Property" did the same. I laughed, I cried, I was moved.
If we're being honest, each element of the story on its own follows a trope or two: The family backstories of two main characters, the individual ghost stories, the way the friend group meets, fights and makes up -- but then, how these are weaved together, with colourful threads of goofy humour, heart wrenching acting, consistent writing and solid editing, it's become a beautiful tapestry that tells us about family, home, (familial and romantic) love and loss. About how important it is to tell your loved ones that you love them before it is too late.
Maybe a note before I go into more detail: Thai humour, especially the silly sort you find in ghost comedies has a lot of screaming, running, is even bordering on slapstick situational comedy. If this is not to your taste, you might want to proceed with caution. If, on the other hand, you are easily scared -- this is not that sort of horror. The ghosts look mildly scary at first glance, but they are definitely not.
The writing is extremely consistent for a light comedy -- some elements and hints are shown early, and picked up in later episodes, the main villain is not quite clear from the beginning, the ghost's stories (which have only one episode to unfold and conclude) are able to build a connection with the viewers in a very short time, and ! the series remains interesting until the last minute. I'm usually bored by longer "and this is what happened after everything was resolved", which takes more than 20 minutes here, and I was not bored at all. I even paused at some points to read PangPang's live stream chat (I recommend to pay attention to the chat throughout the series, some comments are extremely funny!)
I would have liked to see a bit more criticism of the capitalist and classist society, Kan's background would make a good starting point for that. But to be honest, I did not expect it -- it's not generically part of the genre, and doesn't fit the core themes (home & family).
Without good acting, even a good script can't save a drama -- and I loved the acting here. Nobody was awkward and out of character, and within minutes of meeting a new character, I was able to connect with them.
The first episodes focus on a "ghost of the week" story while the relationship between our main characters develops in the background. It's not too on the nose, but also not too subtle how the "cases" relate to the group's story -- and some of them are picked up in the latter part of the series, which focuses on Kan's and Home's backgrounds.
The theme of "home" is both already in the name of one of the main characters ("Home") and in its title "บ้านหลอน On Sale" /baan long/, i.e. "Haunted House for Sale".
บ้าน /baan/ means both "house" (as in the building) as well as "home" (in the literal and metaphorical sense). ที่บ้าน /thii baan/ usually means "at home" but is also sometimes used for the people living "at home", i.e. the family.
If we look at the ghost stories with this in mind, they all not only take place in some sort of house, it's also always about family, about relationships between people -- some of them literally dream of owning a house.
Overall, this is one of the Thai series that can be watched by anyone. It's funny, it's heart-wrenching -- I sobbed in every episode, and often laughed just a minute later -- and it tells us to cherish the people who are ที่บ้าน, (at) home.
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